Melodrama

Melodrama

Melodrama as a form began in France in the late 18^th century. It is a dramatic form which uses exaggerated plot elements and characters (often stereotypes or archetypal in nature) in order to appeal to the emotions of the audience. The language, behaviour, stage effects or events can all be called melodramatic in themselves. Originally, in the 18th and 19th centuries, melodrama referred to the specific form of theatre where orchestral music or song were used to accompany the action to add to the emotional and dramatic effect. Nowdays, Melodrama also is a style of drama that has been applied on the movies and television, and radio formats. The term originated from the early 19th-century French word mélodrame, which is derived comes from the Ancient Greek words melos (music) and drān (to do or perform).

The key features of Melodrama as a form are: pathos, overwrought or heightened emotion, moral polarization (good vs. evil), non-classical narrative structure (especially the use of extreme coincidence and deux ex machina to further plot elements), and sensationalism (emphasis on action, violence, and thrills). Melodrama rejects naturalism as a form as such but sometimes naturalistic set were used in Victorian and Edwardian melodrama and this was combined and contrasted with the non-naturalistic acting presented.

Beginning in the 18th century, melodrama was a technique of combining spoken recitation with short pieces of accompanying music. In such works, music and spoken dialogue typically alternated, although the music was sometimes also used to accompany what we know of as pantomime. The first full melodrama was Jean-Jacques Rousseau’s Pygmalion (1762) and this was followed soon after by a set on duo and monodramas in the form evident in Georg work and his Ariadne auf Naxos (1775) and Medea (1778). Some bans on serious theatre in England meant that theatres presented dramas that were underscored with music and, borrowing the French term, called it melodrama. Eventually this style developed in Germany and England into the style we know of as Melodrama.

Operettas started to use melodrama techniques and sequences and Gilbert and Sullivan’s work often employs melodrama as does Loewe’s Brigadoon. During the 19^th century, the form flourished in England, France and the United States of America. By the end of the 19th century, the term melodrama had nearly exclusively narrowed down to a specific genre of salon entertainment: more or less rhythmically spoken words (often poetry) – not sung, sometimes more or less enacted, at least with some simple narrative structure. Eventually Victorian Melodrama dominated as a form. Victorian Melodrama used six stock characters of the hero, the villain, the heroine, an aged parent, a sidekick and a servant of the aged parent engaged in a sensational plot featuring themes of love and murder. Often the good but not very clever hero is duped by a scheming villain, who has eyes on the ‘Damsel in Distress’. The plays have elements of Morality dramas since eventually good triumphs over evil. Some examples of Pre-Victorian Melodramas are Holcroft’s A Tale of Mystery (1802) and Dimond’s The Broken Sword (1816). Some Victorian Melodramas were Boucicault’s The Streets of London (1864) and Phillips Lost in London (1867). 

Silent films in the early 20^th century kept the tradition alive (see The Perils of Pauline from 1914) and elements of Melodrama can be seen in modern films such as Batman Forever, Burke and Hare and Sweeney Todd.

1-Hour Active Drama Lesson: Exploring Melodrama

Objective:
By the end of the lesson, students will understand the core elements of melodrama, identify its stock characters, explore exaggerated acting techniques, and perform a scene using melodramatic conventions.

Materials:

• CD player with fast-paced piano music (for silent film vibes)
• Optional video clips (Charlie Chaplin, soap opera excerpts, or melodrama films)
• Copies of melodrama examples (e.g., The Streets of London, Sweeney Todd, Uncle Tom's Cabin)
• Props and costume accessories (optional)
• Space to move freely for physical exercises

1. Introduction to Melodrama (10 mins)

Begin with a brief overview of melodrama's history and characteristics:

• Origin: Melodrama began in the late 18th century in France, often accompanied by music to enhance the emotion of the scene.
• Key Elements: Overwrought emotions, exaggerated characters, moral polarization (good vs. evil), sensationalism, and plot twists.
• Famous Examples: The Perils of Pauline, The Streets of London, Sweeney Todd.
• Stock Characters: Hero, Heroine, Villain, Faithful Servant, Maidservant, Villain’s Accomplice.

2. Activity 1 – Big Emotions (10 mins)

Objective: Practice exaggerated physical and emotional expressions typical in melodrama.

1. Watch the video 'Big Emotions' that demonstrates the exaggerated expressions of emotions such as frustration, happiness, fear, pride, and desperation.
2. After watching, ask students to repeat the poses and facial expressions for the following emotions:
   • Frustration
   • Happiness
   • Sadness/Grief
   • Desperation/Pleading
   • Fear
   • Pride
   • Rage
   • Innocence
   • Strength
3. Students should use large gestures and extreme facial expressions, embodying each emotion fully.

3. Activity 2 – Everyday Situations (10 mins)

Objective: Practice creating melodramatic characters in common situations.

1. Watch the video 'Everyday Situations', where the instructor suggests exaggerated scenarios.
2. Students will act out these situations using only physicality and no dialogue. They will finish each scenario with a tableau (frozen picture) that captures a moment of intense emotion:
   • Eating your favorite food
   • Asking a parent for money
   • Arriving late for class
   • Trying to put books into a locker
   • Winning an Olympic gold medal
   • Hiding from someone
   • Waiting for a late train
3. Focus on exaggerated gestures, facial expressions, and physicality that communicate heightened emotion.

4. Activity 3 – Creating Stock Characters (15 mins)

Objective: Build and embody melodramatic characters.

1. Villain Character:
   Watch the video 'Villain' and create a villain character. Have students consider:

   • What does the villain look like (pose, costume)?
   • How do they move? (slow, sneaky, exaggerated?)
   • How do they speak the line: "You'll never escape me, so hand over the money or face the consequences."
   • Focus on exaggerated gestures, sinister looks, and a commanding tone.

2. Heroine Character:
   Watch the video 'Heroine' and create a heroine character. Have students consider:

   • What does the heroine look like (pose, costume)?
   • How does she move? (graceful, cautious, innocent?)
   • How does she speak the line: "I don't love you, but I will marry you if it saves my family."
   • Focus on delicate gestures, vulnerability, and an emotional tone.

3. Character Development:
   Students will rehearse and embody either their villain or heroine, exaggerating physicality and emotions.

5. Activity 4 – The Melodrama Scene (10 mins)

Objective: Perform a melodrama scene with the stock characters.

1. Choose a Scenario:
   In groups of 3-4, students will choose a scenario that includes at least one hero, one villain, and one heroine. Examples of simple melodramatic situations:

   • The villain threatens to take the heroine away, and the hero must save her.
   • The villain has a secret plan, but the hero overhears.
   • The heroine is in distress, and the faithful servant comes to the rescue.

2. Create and Rehearse the Scene:
   Students will use exaggerated gestures and emotions, building their scene with the following in mind:

   • Clear good vs. evil dynamic
   • Physical gestures and facial expressions that heighten the drama
   • Use of asides to reveal a character’s hidden plans or emotions

3. Perform the Scene:
   Groups will perform their melodrama scenes for the class, focusing on exaggerated movement, vocal delivery, and clear character types.

6. Reflection and Discussion (5 mins)

After the performances, gather the students for a discussion:

• What did you notice about the way the characters were portrayed?
• How did exaggerated emotions affect the way the story was communicated?
• How did melodramatic acting make you feel as a viewer?
• Why do you think melodrama uses such big emotions and stereotypes?
• Can you think of any modern examples (movies, TV shows) where melodrama elements appear?

Extension Ideas:

• Research Commedia dell'arte characters and compare them with melodrama’s stock characters.
• Create short improvised scenes using different melodrama characters.
• Explore Laban’s effort analysis to assist in physicalizing melodramatic characters.

7. Wrap-up (2 mins)

End with a quick recap:

• Melodrama is all about exaggerating emotions and characters to engage the audience's feelings.
• Remember the key characters: Hero, Heroine, Villain, and the trusty sidekick or servant.
• Melodrama has influenced modern storytelling in movies, TV, and even soap operas.

Reflection Questions (for homework or further class discussion):

• How does melodrama use exaggerated physicality to convey emotions?
• What role does music play in enhancing a melodramatic scene?
• Can you think of a modern film or show that uses melodramatic conventions? How does it compare to the traditional form?

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This lesson plan offers a blend of physicality, creativity, and discussion, helping students dive into the world of melodrama while exploring both its historical roots and its relevance today.

Resources:

Year 7 Melodrama Unit:

http://resauce.wikispaces.com/file/view/Melodrama_yr7.pdf

Year 8 Melodrama Unit (TES Australia)

https://account.tesaustralia.com/LogOn?rtn=teaching-resource/Melodrama-Lesson-Plans-6030455/

Drama and Media Combined Melodrama Unit

https://dramateachersnetwork.wordpress.com/tag/melodrama/

NSW Government - Arts Unit - Creative Class - Melodrama

https://artsunit.nsw.edu.au/creative-class/melodrama-characterisation

References

Brooks, Peter (1995). The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. Yale University Press. p. xv.

Costello, Robert B., ed. (1991). Random House Webster's College Dictionary. New York: Random House. p. 845.

Dirks T Melodrama Films filmsite.org website opinion

Singer, Ben (2001). Melodrama and Modernity: Early Sensational Cinema and Its Contexts. New York: Columbia University Press. pp. 44–53.

Chisholm, Hugh, ed. (1911). "Melodrama". Encyclopædia Britannica (11th ed.). Cambridge University Press.

Branscombe, Peter. "Melodrama". In Sadie, Stanley; John Tyrrell, eds. (2001). The New Grove Dictionary of Music and Musicians, 2nd edition. New York: Grove's Dictionaries.

Williams, Carolyn. "Melodrama", in The New Cambridge History of English Literature: The Victorian Period, ed. Kate Flint, Cambridge University Press (2012), pp. 193–219.

Michael Booth (1991) Theatre in the Victorian Age. Cambridge University Press.